{"id":1549,"date":"2022-08-27T19:57:55","date_gmt":"2022-08-27T19:57:55","guid":{"rendered":"https:\/\/ghadaamer.com\/?p=1549"},"modified":"2022-08-27T19:57:56","modified_gmt":"2022-08-27T19:57:56","slug":"ghada-amers-paravent-girls","status":"publish","type":"post","link":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/","title":{"rendered":"Ghada Amer\u2019s Paravent Girls"},"content":{"rendered":"\n

Larger than life, the women on Ghada Amer\u2019s paravents emerge from bronze panels in raised lines that give a tactile element to each piece. On one side of a paravent, a woman sculpted out of bronze ridges has hair cascading around her shoulders, as if to create a peekaboo partition between her skin and the viewer\u2019s sight line. Shrugging her shoulder lightly, she plays with her strap as she looks over her shoulder, eyes downcast, a slight smile hovering on her lips, seemingly prepared to disrobe. On the other side of the paravent, two women seem to have just brushed their tresses to the side as they move closer together, one reaching out a hand to help the other shed her underthings.\u00a0
Watching women dress or undress in art is a theme as old as time, from the biblical Susanna and the Elders in Renaissance paintings, to Ingres\u2019 odalisques or Bonnard\u2019s women in bathtubs. <\/em>However, watching these scenes of undress unfold on giant paravents \u2013 objects intended to create privacy or, depending on the context, a sense of sensuous mystery, as a woman slips into something more comfortable<\/em> \u2013 is another thing altogether. After all, if we can clearly see the women undressing, isn\u2019t this visibility ruining the mystery, by showing openly what usually happens behind the partition right there, on the screen?<\/p>\n\n\n\n

\"Paravent
Figure 1. Ghada Amer, Paravent Girls (2022)<\/figcaption><\/figure>\n\n\n\n

Ghada Amer\u2019s \u201cparavent girls,\u201d if we can call them as such, are the newest addition to the artist\u2019s pantheon of female subjects who challenge the viewer\u2019s gaze. In this latest series, Ghada Amer has chosen to use paravents, or folding screens, as her creative canvas. As a free-standing, adjustable object, the paravent is also a movable partition that can be unfolded to erect a barrier or create a private space. And yet, Ghada Amer\u2019s screens do not fold. By casting them in a permanently unfolded shape, the artist repurposes the paravent to literally screen images of women\u2019s bodies on an object often used to screen those same bodies from view.<\/p>\n\n\n\n

Can Ghada\u2019s girls be seen as protectors, and her bronze screens, armor? After all, the physical form and function of Ghada Amer\u2019s paravents contradicts the traditional use of this object as a foldable, movable piece of furniture. Ghada Amer\u2019s screens are heavy objects created out of cast bronze and cannot be folded or easily moved around. If the choice of material seems to eliminate the mere possibility that these paravents would be used for practical purposes, this is reinforced by the fact that the screens are also bolted to the ground when they are installed–immovable, the solid bronze screens provide a more permanent and protective barrier. <\/p>\n\n\n\n

The folding screen, beyond its practical and decorative functions, has also long served as a sexual symbol in opera, theatre, cinema, and the arts. The screen\u2019s ability to conceal, or reveal only outlines, makes it a tool and foil for flirtation and seduction.  However, by creating paravents out of bronze, as opposed to canvas or other semi-transparent or transportable materials, Ghada Amer\u2019s screens can truly<\/em> protect a user\u2019s privacy, as no light can get through the bronze and light up a silhouette behind the screen. If you were to stand behind one of these screens, no one would be able to see you. Instead; the only figures that are visible are the ones Ghada Amer has deliberately chosen to sculpt on her folding screens. <\/p>\n\n\n\n

What then, is behind the scenes \u2013 or rather, behind the screens? Historically, many paravents would feature a highly decorated outward-facing illustration on one side, and a simpler motif on the \u201cprivate\u201d side of the screen. Ghada Amer, however, spent time creating art on both sides of her folding screens, giving equal weight to what a person on the front-facing side of the screen and the person behind the screen might see. By sculpting equally detailed figures on both sides of her screens, she establishes her paravent as a freestanding sculpture designed to be viewed from all sides, with no hidden or unfinished side.<\/p>\n\n\n\n

\"Paravent
Figure 2. Detail, Ghada Amer, Paravent Girls (2022).<\/figcaption><\/figure>\n\n\n\n

The method Ghada Amer uses to bond her figures to the background bolsters their visibility. When creating the images of the girls on her paravents, the artist did not carve them into <\/em>the bronze, but rather, she created them relief, raising them above the bronze background. By raising the figures on the bronze panels as opposed to engraving them into the surface, Ghada Amer continues her practice of putting the female figures first, layering the raised bronze lines on the bronze panels like she stitches figures onto painted canvases in earlier works. But where Ghada Amer\u2019s embroidered figures are frequently obstructed by hanging threads on her painted canvases, the raised figures on the folding screens remain visible through the drips that seem to streak down the paravent. By clearly sculpting images of female eroticism onto an object that has long been used to arouse or create mystery, Ghada Amer breaks down the power of an object designed to conceal. <\/p>\n\n\n\n

Herein lies Ghada Amer\u2019s paravent paradox. Hidden from view while gazing at the bodies, the screens protect the viewer\u2019s privacy but also enable the consumption of sensuous imagery. That this consumption takes place in a gallery setting, where exhibition is the purpose of the space, draws attention to both the exhibitionism of the bodies on the screen but also the viewer consuming these images. The protection that the paravent is supposed to provide for a private viewing of sexual bodies is complicated by the protected-yet-public experience of viewing the paravents in a public space.<\/p>\n","protected":false},"excerpt":{"rendered":"

Larger than life, the women on Ghada Amer\u2019s paravents emerge from bronze panels in raised lines that give a tactile element to each piece. On one side of a paravent, a woman sculpted out of bronze ridges has hair cascading around her shoulders, as if to create a peekaboo partition between her skin and the […]<\/p>\n","protected":false},"author":7,"featured_media":1552,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[27,51,103,104,102],"yoast_head":"\nGhada Amer\u2019s Paravent Girls - Ghada Amer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ghada Amer\u2019s Paravent Girls - Ghada Amer\" \/>\n<meta property=\"og:description\" content=\"Larger than life, the women on Ghada Amer\u2019s paravents emerge from bronze panels in raised lines that give a tactile element to each piece. On one side of a paravent, a woman sculpted out of bronze ridges has hair cascading around her shoulders, as if to create a peekaboo partition between her skin and the […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/\" \/>\n<meta property=\"og:site_name\" content=\"Ghada Amer\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/GhadaAmerStudios\" \/>\n<meta property=\"article:published_time\" content=\"2022-08-27T19:57:55+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-08-27T19:57:56+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/ghadaamer.com\/wp-content\/uploads\/2022\/08\/Paravent-Girls.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"800\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Isabella Archer\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@Ghada_Amer\" \/>\n<meta name=\"twitter:site\" content=\"@Ghada_Amer\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Isabella Archer\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/\"},\"author\":{\"name\":\"Isabella Archer\",\"@id\":\"https:\/\/ghadaamer.com\/#\/schema\/person\/eb3074c26f8bb3b16ff8dba743cc728e\"},\"headline\":\"Ghada Amer\u2019s Paravent Girls\",\"datePublished\":\"2022-08-27T19:57:55+00:00\",\"dateModified\":\"2022-08-27T19:57:56+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/\"},\"wordCount\":955,\"publisher\":{\"@id\":\"https:\/\/ghadaamer.com\/#organization\"},\"image\":{\"@id\":\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/e3ciad4zx6e.exactdn.com\/wp-content\/uploads\/2022\/08\/Paravent-Girls.jpg?strip=all&lossy=1&ssl=1\",\"keywords\":[\"feminism\",\"gaze\",\"Sculptures\",\"Technique\",\"Women\/Woman\"],\"articleSection\":[\"Sculpture\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/\",\"url\":\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/\",\"name\":\"Ghada Amer\u2019s Paravent Girls - Ghada Amer\",\"isPartOf\":{\"@id\":\"https:\/\/ghadaamer.com\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/e3ciad4zx6e.exactdn.com\/wp-content\/uploads\/2022\/08\/Paravent-Girls.jpg?strip=all&lossy=1&ssl=1\",\"datePublished\":\"2022-08-27T19:57:55+00:00\",\"dateModified\":\"2022-08-27T19:57:56+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#primaryimage\",\"url\":\"https:\/\/e3ciad4zx6e.exactdn.com\/wp-content\/uploads\/2022\/08\/Paravent-Girls.jpg?strip=all&lossy=1&ssl=1\",\"contentUrl\":\"https:\/\/e3ciad4zx6e.exactdn.com\/wp-content\/uploads\/2022\/08\/Paravent-Girls.jpg?strip=all&lossy=1&ssl=1\",\"width\":1200,\"height\":800,\"caption\":\"Paravent Girls\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/ghadaamer.com\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Ghada Amer\u2019s Paravent Girls\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/ghadaamer.com\/#website\",\"url\":\"https:\/\/ghadaamer.com\/\",\"name\":\"Ghada Amer\",\"description\":\"Contemporary Artist\",\"publisher\":{\"@id\":\"https:\/\/ghadaamer.com\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/ghadaamer.com\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/ghadaamer.com\/#organization\",\"name\":\"Ghada Amer\",\"url\":\"https:\/\/ghadaamer.com\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/ghadaamer.com\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/ghadaamer.com\/wp-content\/uploads\/2021\/07\/logo_ghada-amer.png\",\"contentUrl\":\"https:\/\/ghadaamer.com\/wp-content\/uploads\/2021\/07\/logo_ghada-amer.png\",\"width\":347,\"height\":130,\"caption\":\"Ghada Amer\"},\"image\":{\"@id\":\"https:\/\/ghadaamer.com\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/GhadaAmerStudios\",\"https:\/\/x.com\/Ghada_Amer\",\"https:\/\/www.instagram.com\/ghadaamer\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/ghadaamer.com\/#\/schema\/person\/eb3074c26f8bb3b16ff8dba743cc728e\",\"name\":\"Isabella Archer\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/ghadaamer.com\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/ghadaamer.com\/wp-content\/uploads\/2021\/08\/Isabella-Photo-96x96.jpeg\",\"contentUrl\":\"https:\/\/ghadaamer.com\/wp-content\/uploads\/2021\/08\/Isabella-Photo-96x96.jpeg\",\"caption\":\"Isabella Archer\"},\"description\":\"Isabella Archer is a Paris-based researcher with interests in museum studies, art history and archaeology, and Franco-Arab studies. She holds degrees from the University of North Carolina at Chapel Hill (BA, 2010 and, MA, 2012) and Universit\u00e9 Paris-Sorbonne (Master 2, 2014). A former art consultant, she is currently at work on a doctoral dissertation about the politics of display of endangered cultural heritage in museums and cultural institutions.\",\"url\":\"https:\/\/ghadaamer.com\/author\/isabellaarcher\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Ghada Amer\u2019s Paravent Girls - Ghada Amer","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/","og_locale":"en_US","og_type":"article","og_title":"Ghada Amer\u2019s Paravent Girls - Ghada Amer","og_description":"Larger than life, the women on Ghada Amer\u2019s paravents emerge from bronze panels in raised lines that give a tactile element to each piece. On one side of a paravent, a woman sculpted out of bronze ridges has hair cascading around her shoulders, as if to create a peekaboo partition between her skin and the […]","og_url":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/","og_site_name":"Ghada Amer","article_publisher":"https:\/\/www.facebook.com\/GhadaAmerStudios","article_published_time":"2022-08-27T19:57:55+00:00","article_modified_time":"2022-08-27T19:57:56+00:00","og_image":[{"width":1200,"height":800,"url":"https:\/\/ghadaamer.com\/wp-content\/uploads\/2022\/08\/Paravent-Girls.jpg","type":"image\/jpeg"}],"author":"Isabella Archer","twitter_card":"summary_large_image","twitter_creator":"@Ghada_Amer","twitter_site":"@Ghada_Amer","twitter_misc":{"Written by":"Isabella Archer","Est. reading time":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#article","isPartOf":{"@id":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/"},"author":{"name":"Isabella Archer","@id":"https:\/\/ghadaamer.com\/#\/schema\/person\/eb3074c26f8bb3b16ff8dba743cc728e"},"headline":"Ghada Amer\u2019s Paravent Girls","datePublished":"2022-08-27T19:57:55+00:00","dateModified":"2022-08-27T19:57:56+00:00","mainEntityOfPage":{"@id":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/"},"wordCount":955,"publisher":{"@id":"https:\/\/ghadaamer.com\/#organization"},"image":{"@id":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#primaryimage"},"thumbnailUrl":"https:\/\/e3ciad4zx6e.exactdn.com\/wp-content\/uploads\/2022\/08\/Paravent-Girls.jpg?strip=all&lossy=1&ssl=1","keywords":["feminism","gaze","Sculptures","Technique","Women\/Woman"],"articleSection":["Sculpture"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/","url":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/","name":"Ghada Amer\u2019s Paravent Girls - Ghada Amer","isPartOf":{"@id":"https:\/\/ghadaamer.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#primaryimage"},"image":{"@id":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#primaryimage"},"thumbnailUrl":"https:\/\/e3ciad4zx6e.exactdn.com\/wp-content\/uploads\/2022\/08\/Paravent-Girls.jpg?strip=all&lossy=1&ssl=1","datePublished":"2022-08-27T19:57:55+00:00","dateModified":"2022-08-27T19:57:56+00:00","breadcrumb":{"@id":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#primaryimage","url":"https:\/\/e3ciad4zx6e.exactdn.com\/wp-content\/uploads\/2022\/08\/Paravent-Girls.jpg?strip=all&lossy=1&ssl=1","contentUrl":"https:\/\/e3ciad4zx6e.exactdn.com\/wp-content\/uploads\/2022\/08\/Paravent-Girls.jpg?strip=all&lossy=1&ssl=1","width":1200,"height":800,"caption":"Paravent Girls"},{"@type":"BreadcrumbList","@id":"https:\/\/ghadaamer.com\/sculpture\/ghada-amers-paravent-girls\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/ghadaamer.com\/"},{"@type":"ListItem","position":2,"name":"Ghada Amer\u2019s Paravent Girls"}]},{"@type":"WebSite","@id":"https:\/\/ghadaamer.com\/#website","url":"https:\/\/ghadaamer.com\/","name":"Ghada Amer","description":"Contemporary Artist","publisher":{"@id":"https:\/\/ghadaamer.com\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/ghadaamer.com\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/ghadaamer.com\/#organization","name":"Ghada Amer","url":"https:\/\/ghadaamer.com\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/ghadaamer.com\/#\/schema\/logo\/image\/","url":"https:\/\/ghadaamer.com\/wp-content\/uploads\/2021\/07\/logo_ghada-amer.png","contentUrl":"https:\/\/ghadaamer.com\/wp-content\/uploads\/2021\/07\/logo_ghada-amer.png","width":347,"height":130,"caption":"Ghada Amer"},"image":{"@id":"https:\/\/ghadaamer.com\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/GhadaAmerStudios","https:\/\/x.com\/Ghada_Amer","https:\/\/www.instagram.com\/ghadaamer\/"]},{"@type":"Person","@id":"https:\/\/ghadaamer.com\/#\/schema\/person\/eb3074c26f8bb3b16ff8dba743cc728e","name":"Isabella Archer","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/ghadaamer.com\/#\/schema\/person\/image\/","url":"https:\/\/ghadaamer.com\/wp-content\/uploads\/2021\/08\/Isabella-Photo-96x96.jpeg","contentUrl":"https:\/\/ghadaamer.com\/wp-content\/uploads\/2021\/08\/Isabella-Photo-96x96.jpeg","caption":"Isabella Archer"},"description":"Isabella Archer is a Paris-based researcher with interests in museum studies, art history and archaeology, and Franco-Arab studies. She holds degrees from the University of North Carolina at Chapel Hill (BA, 2010 and, MA, 2012) and Universit\u00e9 Paris-Sorbonne (Master 2, 2014). A former art consultant, she is currently at work on a doctoral dissertation about the politics of display of endangered cultural heritage in museums and cultural institutions.","url":"https:\/\/ghadaamer.com\/author\/isabellaarcher\/"}]}},"_links":{"self":[{"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/posts\/1549"}],"collection":[{"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/comments?post=1549"}],"version-history":[{"count":1,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/posts\/1549\/revisions"}],"predecessor-version":[{"id":1553,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/posts\/1549\/revisions\/1553"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/media\/1552"}],"wp:attachment":[{"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/media?parent=1549"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/categories?post=1549"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/tags?post=1549"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}